Humans are spatial creatures Humans are spatial creatures. We experience most of life in relation to space. We sit in a circle with our family. We drive down the left side of the road in Ireland and try to stay in our lane. We ride scooters down a path along the water. We sculpt a human body out of stone. We follow signs to our train. We walk, through arches, or on crosswalks beside bike lanes, or to follow our brother across a bridge. We position our camera to frame the shot while our friend leans out over a balcony. We sense ourselves in space in relation to all of the other objects in our environment. And this is powerful knowledge that we've left out of lots of software. In fact, while most obvious in 3D, this thinking does work outside of just three-dimensional software. Almost any software can use spatial concepts to become easier to understand. John Palmer, Spatial Interfaces body
The tacit wisdom of the body It is evident that the architecture of traditional cultures is also essentially connected with the tacit wisdom of the body, instead of being visually and conceptually dominated. Construction in traditional cultures is guided by the body in the same way that a bird shapes its nest by movements of its body. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses Architecture Without Architects bodytraditionhistory
A simple pleasure that comes from just using it People have a sense of warmth and coolness, a thermal sense like sight or smell, although it is not normally counted in the traditional list of our five senses. As with all our other senses, there seems to be a simple pleasure that comes from just using it, letting it provide us with bits of information about the world around, using it to explore and learn, or just to notice. There is a basic difference, however, between our thermal sense and all of our other senses. When our thermal sensors tell us an object is cold, that object is already making us colder. If, on the other hand, I look at a red object it won't make me grow redder, nor will touching a bump object make me bumpy. Lisa Heschong, Thermal Delight in Architecture sensesbody
Half-winged, half-imprisoned The contrast between man’s ideological capacity to move at random through material and metaphysical spaces and his physical limitations, is the origin of all human tragedy. It is this contrast between power and prostration that implies the duality of human existence. Half winged—half imprisoned, this is man! Paul Klee, Pedagogical Sketchbook ideasbody
(an architectural stem cell that might transform itself into any organ for living) Michael Sorkin, 20 Minutes in Manhattan euphonybodyarchitecturespace
We have turned our faces towards the future During the modern era, we have even changed our bodily position in relation to the flow of time; the Greeks understood that the future came from behind their backs and the past receded away in front of their eyes, but we have turned our faces towards the future, and the past is disappearing behind our backs. Robert McCarter & Juhani Pallasmaa, Understanding Architecture timebody
In our bodies We tend to think of our memory as a cerebral capacity, but the act of memorizing engages our entire body. Remembering is not solely a mental even; it is also an act of embodiment and bodily projection. Memories are not only hidden in the electrochemical processes of the brain; they are also stored in our skeletons, muscles, senses, and skin. Robert McCarter & Juhani Pallasmaa, Understanding Architecture memorybody
The same material as the sun I have to apologize. I was born with a disfigurement where my head is made of the same material as the sun. It makes it impossible for you to look directly at me. It has always been this way. Shane Carruth, Upstream Color bodysurrealism
A Brief Rant An Essay by Bret Victor worrydream.com Like, just a post complaining that screens should be better designtechnologywwwinteractionbody
The body image A Quote The body image is informed fundamentally from haptic and orienting experiences early in life. Our visual images are developed later on, and depend for their meaning on primal experiences that were acquired haptically. Metaphors We Live ByGods of the WordThe Eyes of the Skin: Architecture and the Senses bodymeaning
The Fidelity Curve An Article by Ryan Singer m.signalvnoise.com How do we choose which level of fidelity is appropriate for a project? I think about it like this: The purpose of making sketches and mockups before coding is to gain confidence in what we plan to do. I’m trying to remove risk from the decision to build something by somehow “previewing” it in a cheaper form. There’s a trade-off here. The higher the fidelity of the mockup, the more confidence it gives me. But the longer it takes to create that mockup, the more time I’ve wasted on an intermediate step before building the real thing. I like to look at that trade-off economically. Each method reduces risk by letting me preview the outcome at lower fidelity, at the cost of time spent on it. The cost/benefit of each type of mockup is going to vary depending on the fidelity of the simulation and the work involved in building the real thing. Four levels of fidelityTime to build versus confidence gained prototypesinterfaces
Four levels of fidelity Suppose we have four levels of fidelity… Rough sketch (on paper or an iPad) Static mock-up (eg. Photoshop or Sketch) Interactive mock-up (eg. Framer, InVision) Working code prototype (HTML/CSS, iOS views) Depending on the feature you’re working on, these levels of fidelity take different amounts of time to create. If you plot them in terms of time to build versus confidence gained, you could imagine something like a per-feature fidelity curve.
Time to build versus confidence gained Show image 0 Show image 1 Show image 2 Take a simple CRUD web UI, where you’re just navigating between screens. It doesn’t take much more time to build the real version than it does to mock it when the design is simple. If you were to build out an interactive mock first, you would end up spending twice as much time in total without gaining much out of it. Contrast that with a complicated Javascript interaction. Or a native iOS feature that requires programmer time to build out. If it takes substantially more time to build the real code version, then it may be smart to do an interactive mockup first.